What was your favorite song or dance from the show?

Ivan Calderon (Musidorus/Cleophila): “We didn’t play the full song in the show, but ‘Lust to Love’ is hands-down my favorite song. […] In the show, we get to add fight choreography to it, so it’s epic, it’s so much fun. Every time, I remember leaving—especially during tech week—leaving rehearsals just blasting ‘Lust to Love’ on repeat… That was my anthem throughout the week.”

Lianna Morelli (Mopsa): “My favorite song is probably ‘Automatic Rainy Day.’ My favorite dance, though, was the dance we did in “Head Over Heels,” which was the opening to Act 2. I just had a really good time with it.”

Cal Perkins (Dametas): “I have to say I’m torn between two. ‘Here You Are’ is my favorite song for sure. I just love the different harmonies and just the lyricism that’s beautiful with the actual motion. It’s tied with ‘Vision of Nowness’ for sure. I didn’t really get to dance in that, but it was so hard not to sing during it because that’s my favorite Go-Go’s song for sure.”

Who was your favorite character?

Calderon: “Standouts for me would be Basilius [played by Marquis Williams] and Pamela [played by Emma Kelly]. I like both of them a lot. For me, just being a scene partner, particularly with Emma, who played Pamela. Getting to witness the sass sometimes led me to almost breaking [character] on stage.”

Morelli: “Honestly, I just think [Queen] Gynecia [played by Kassidy Schmidt] is a badass. She put up with being cheated on for a really long time, and I love her character arc, and I love that she gets to take over the kingdom at the end.”

Perkins: “Basilius is definitely one of my favorite [characters]… Just being able to be on stage with Marquis and kinda just being there for the journey [that Basilius goes on] […] It’s just so fun to experience. I would honestly say I really do love Mopsa as a character. This is maybe the Demetas in me talking. [She’s] such a strong character and she is the more serious of [Mopsa and Pamela], but then again, she speaks to woodland animals. I mean, that’s baller, so I just love her character. She’s so fun.”

How did you handle playing a character that was less accepting of queer identity than you?

Perkins: “When I got cast [as Demetas], I was like, ‘Okay, this will be a change,’ and then realizing that he becomes an ally at the end was relieving, honestly. Aside from that, I have a lot of my family [that] doesn’t want to touch anything LGBTQ+ or anything of that sort. So I kind of had to think about what [my family] would think and what Demetas’s journey has been. It was a little interesting as someone who is trans/genderfluid, being on a stage and trying to play a cisgender man who exiled his partner and is realizing that his daughter is lesbian. The character arc was so interesting to play with and think about.”

What did you enjoy about the queer aspects of your characters?

Morelli: “Mopsa explores more of the sexuality part than the gender side of [queer identity].  It was interesting for me to try and find where Mopsa is in trying to get Pamela to have [the] realization [that she is a lesbian] because you see it throughout the show. Especially in the poetry scene, Pamela’s very close to realizing what it is that she wants. And Mopsa says, ‘You’re so close, you’re right there,’ and the whole time she’s trying to do it without being too pushy.”

Calderon: “I like how Musidorus subverted the trope of the heroic journey. He doesn’t really have the means to be a knight or a warrior or a hero of any standard means, but then he is bestowed this power [that we see in the fight scenes]. [Playing Musidorus] allowed me to not feel restricted on stage to any extent… as an actor, I just had a lot of fun on stage being confident in my body and myself and doing my thing.”

What do you hope audiences take away from the production?

Emma Kelly (Pamela): “The message I wanted to give is to be seen. I want people like this [i.e., queer people] to be seen. Pamela from the beginning—she loves herself, but she doesn’t know what else she loves. There’s clearly something missing, and I think there’s a lot of people out there that struggle with knowing that there’s something different but [not quite knowing] how to articulate it. […] A lot of times, people don’t know these relationships [exist] because they don’t actively see them… But a show like this is making people see [queer relationships] and hear about [them] in a way that is palatable—in a way that is understanding.”

Marquis Williams (Basilius): “Breaking traditions and change can benefit everything. Basilius is such a man of tradition. And the reasons why he made the decisions he made was that he felt threatened. He’s like, ‘I can run the kingdom.’ And that was in the beginning. But once he decided to accept change, that’s when everything ended [better than it was initially]. Change breaks traditions and breaks boundaries.”

Calderon: “I really wanted people to find entertainment from this [production]. […] Of course, we want our audience to enjoy themselves because then there’s that feedback and energy where we raise the state [of the show] or raise the energy as well. People who haven’t seen this kind of media before aren’t really used to seeing queer representation on stage. [Those people will] just find enjoyment in seeing it. […] To some extent, even though maybe there are some aspects where older audiences or more conservative audiences won’t really agree with certain aspects of the show, at least they’ll connect with it, which will allow that representation to be seen as good entertainment as well, but also in a way that’s done correctly and thoughtfully and meaningfully.”

Morelli: “There’s a line in the show that says, ‘No true paradise remains in place forever.’ I think that sums up what I want people to take from the show. […] Things change and things happen and you have to be accepting of that change. As people are discovering who they are, as people come out, as people make these self-discoveries, it’s so important for the people around them to just be there and be accepting and be loving and kind with the way they interact and they speak to them, no matter what they think about it. It’s good. Change can be good. Change encourages progress. And I think that to create the truest paradise we just have to be accepting.”

Concluding Thoughts

Jewell Theatre Company’s “Head Over Heels” was a breath of fresh air. The cast placed significant emphasis on queer representation in the show; seeing queer people and relationships in media is crucial to build a more accepting future. Plus, the company’s “Head Over Heels” production was good theater. I cannot wait to see what JTCo comes up with next! 

To see more performances from Jewell’s Department of Performing Arts, check the Department’s performance calendar here. You can also follow @jewelltheaterco on Instagram.

This year, William Jewell College celebrates its 175th anniversary as an institution of higher learning, but that is not the only milestone achievement that ought to be recognized. 2024 marks the 130th anniversary of The Hilltop Monitor, the college’s official student newspaper. Since 1894, students have been consistently passing the torch and upholding this tradition, making ours among the oldest and longest running student publications in the country. 

The Hilltop Monitor as we know it today originated under a different name: The William Jewell Student. Before 1894, there had been a scattering of attempts to get a regular student publication off the ground. According to the memories from the earliest editions of the William Jewell Tatler, the first student publication was called The Jewell. It began in 1874-75 and lasted only around five years or so, publishing irregularly. The idea of a student paper lay dormant for the next few generations of Jewell students. It was reawakened in the summer of 1881 according to an article in the Kansas Weekly Herald, but it wasn’t until the 1894-95 school year when it was revived definitively as The William Jewell Student. 

Initially, the paper was co-managed by Jewell’s reigning literary societies: Excelsior and Philomathic. These were honors organizations that taught language and communication skills, and they were instrumental to building a campus community in Jewell’s earliest years. The Student’s staff was traditionally composed of four Philomathians and four Excelsiors, a tradition that continued until around 1917-1918 when the literary societies began to fall out of style in favor of the successful debating society and increasing participation in athletics. 

In the beginning, it was a monthly paper on literature, science, and occasionally some general news about the college. For much of its life as The Student, the campus paper reported on all the major and minor happenings relevant to the student body. It published faculty profiles and course updates alongside local advertisements and the personal statuses of classmates. A subscription cost 50¢ per year according to “Cardinal is Her Color,” Jewell’s most recent comprehensive history written for Jewell’s 150th anniversary. The 1912 Tatler reports that, in the 1911-1912 school year, the paper started publishing weekly in addition to the usual monthly literary edition featuring works of creative writing submitted by students. 

After it left the hands of the literary societies, there was a period when The Student fell under the purview of the student government who were then responsible for appointing new editors for both The Student and the Tatler. Upon the introduction of journalism classes to the English curriculum starting in the 20s, maintenance of the paper transferred again to be the charge of journalism students and volunteers under a faculty advisor. 

The Student charged on under the guidance of Dr. Georgia B. Bowman, a staple of the English and Communications departments from 1947 to her retirement in 1980 (although she maintained a presence on the Hill as a welcome professor emeritus for several years following). The role of faculty advisor was then taken on by Professor Lois Anne Harris who began teaching the courses on journalism when she joined the Jewell community in 1979. 

Professor Harris oversaw the 1985-1986 editorial staff’s decision to change the name of the newspaper. In a recent interview by The Monitor, the chief editor at the time, Paul Paulter ‘87, recalled that it was a group decision spurred by repeated confusion when talking about the paper: “You know, you answer the phone, you [say], ‘The Student,’ and they’re like, ‘Oh, I’m looking for the student newspaper.’ ‘Yeah, that’s it.’ ‘Well, what’s the name of it?’ ‘It’s The Student.’” After collaborating with the editors, Professor Harris, the journalism classes, and members of faculty, a new name was decided on. It was even run by the Student Senate for approval among student leaders. During the brainstorming sessions, Paulter remembers “that there were names like, you know, The Monitor or The Post or the whatever by themselves, but there was a thought that we wanted to have it [be] something uniquely Jewell-like. So, we worked in the Hilltop part. I remember that being a portion that we wanted to work in; something that seemed that was in the Jewell parlance.” And just like that, The William Jewell Student was rechristened as The Hilltop Monitor we know today. 

As is to be expected with any shift in tradition, there was indeed some pushback for a few months after the new name was made official. For 92 years, the paper had been known under the same title, and it ruffled some feathers among current and former cardinals to see it renamed. The 1987 Tatler described The Hilltop Monitor’s first year as beginning “in a heat of controversy,” which Paulter says the staff at the time had not anticipated. “There was a period of time,” Paulter said, “where there were a lot of letters to the editor” from students and “old alumni who had written in and expressed some displeasure.” Laughing, Paulter admitted his greatest regret is that he was a bit flippant in his responses to the letters. Like so many chief editors before (and after) him, the paper was a significant part of his Jewell career. “To be honest,” he said, “I look back with a lot of pride for the newspapers we put out for those couple of years. We did a good job and put forth some good papers.”

Having been continually in print for 130 years now, The Monitor owes its longevity to the fact that it is exceptionally flexible, always adapting to the changing needs of its students. In the first issue of the 1912-1913 school year, a letter from the editors reads, “The Student is an enterprise in which the whole school is bound up. It will depend upon the whole school for success, and its success will largely depend on how the school responds to this dependence. […]

“The Student, if it is the paper it ought to be, is an assembling of a number of ideas. The more and varied these ideas, the better the paper. The staff, of course, intends to put the best brains it has into the publication, but the staff doesn’t think for a minute that alone, it can produce a periodical that will do justice to William Jewell College.

“Any newspaper, particularly a college newspaper, must progress, must change in order to be vital, to be interesting and of value, and to perform properly its function.”

While so much else has changed—the name, the staff, the frequency of publication, the subject matter, the method of delivery—this message continues to be true. Let us hope that for as long as Jewell stands atop her hill, The Hilltop Monitor will persist alongside her, informing the Jewell community and granting students the opportunity for their voices to be heard.

Do you want to be a part of The Hilltop Monitor next year? Staff applications are now open for the 2024-25 academic year. Scan the QR or click the link below to fill out the form.

Application form: https://forms.gle/bsdT7E9jPYMCiSau7